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Relinking to .sync.new subclips for offline edit with red
Hey guys, trying to set up for an offline edit of red footage and i’m running into a few problems.
My intended workflow was as follows-
1. AMA red files into MC
2. Use autosync to sync my external audio (did this manually with in points)
3. Transcode the synced video/audio clips (.sync) to dnx 80
4. Unmount the AMA clips, relink to the synced, transcoded clips (.sync01.new01).My problem occurs at step 4.
I currently have all of my clips synced and transcoded, so I have a bin full of .sync.new clips in dnx 80, which is great, but I wanted to link the AMA red files to those transcoded files to preserve metadata as well as not have all my files ending with .sync.new.
I think the fact that the .sync.new files are subclips and not self contained clips is screwing something up, because when I do my typical unmount of the ama footage and try to relink it to the transcoded clips, everything goes haywire during the relink.
Is there some way I can transcode the .sync files into self contained dnx clips with the audio in tact? AM I missing something? Any help would be appreciated, Thanks!
edit- it may be worth mentioning that when I select a .sync ama’d clip and transcode it, MC spits out a transcoded copy of the Video, and a transcoded copy of the audio, and a subclip with the two synced up. Is it possible for MC to transcode the .sync subclip into a single dnx80 file that is now a regular clip and not a subclip?
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5 Replies
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The goal of all the steps is that you are supposed to edit with the .sync and or.new clips as they point to the transcoded media. Since the clip is referring to two different sources, that relationship is maintained in the .sync subclips to that you can always match frame back to original sources during editorial, or make lists that are correct for each of the sources.
Editing with subclips is just fine, why does that present an issue for you in your workflow?
I agree that the clip name adding .sync and .new is a pain in the ass and wish there was an automated method to do text replacement, removal but there is a way to rename your clips in one swoop if you prepare for it before the syncing process. What I would do in this workflow based on your AMA steps (I always make my picture dailies in RXCPro)
1. AMA to Red files
2. Transcode before syncing to DNxHD de choix. At this point, move transcoded .new clisp to their own bin and archive AMA linked bins)
4. Rename clips to something useful for the editor – be is scene-take, etc. For reduncancy, I will hilight the entire name column when done and duplicate to a custom column labeled Name2 (call it whatever you want)
3. AutoSequence clips for each batch, card, day, drive, or however the dailies are being managed from set to post. Keep that for archive purposes.
4. Import audio (never AMA audio) and AutoSync. This creates a clip with .sync. In order to batch remove these, I go to my Name2 column, highlight it, and duplicate back into the Name column thus renaming everything back to the way it was before the syncing process.
5. Edit with these subclips and you always have a way to make lists for original picture, original sound, and have your bin of AMA links in case you need to go back to that.In some cases with a good production audio person, the scene/take is in the BWF file – if so, I do the duplicate column on that metadata fields on the BWF clips before AutoSyncing, then use that to name the .sync clips via the same duplicate column process.
I have seen more and more posts about people transcoding, then relinking AMA clips back to transcoded clips – that to me will only lead to unknown problems downstream.
There is a way to create brand new master clips from these .sync clip, but involves a knowledge in ALE export and import/merge back to existing media, etc. Thousands of features have been edited with .sync clips for all the advantages I have listed.
Michael
5. Hi
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The reason I didn’t want to edit with .new clips is that I heard it makes a relink more difficult, is that true?
In any case, what you are saying is basically that I should AMA the red files into their own bin, then transcode to dnx BEFORE I sync them, correct? Then after the transcode, I use the .new files to sync to the BWF, then I edit off of the .sync.new clips.
Lets assume I decide to suck it up and edit off of the .sync.new clips without doing what you described to give them all a clean name (audio is not time code synced so It would take me to long to rename individually based on BWF names)
Would I have any problems relinking to the red files due to the different file names now? I assume that once my cut is complete with the offline media, I need to break the link to them and relink to the ama red files within MC before I send for color correction. Do I have this right?
I recently switched from final cut so I’m still trying to figure out the backend of MC and how it handles this kind of stuff, so thank you!
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One of the bigger changes that users who come with FCP background is the fact the the Name in the bin has nothing to do with the relink process as that is being tracked in your scenario in the Source File column. You could rename all the clips the same name like ABC123 and it would still relink.
Just remove the .sync or .new and you are fine. Rename the clip to whatever you want and you are fine. The media composer is keeping track of parent/child relationship as well as original sources via other methods that the name itself.
Michael
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Excellent, thank you very much!
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If you have an hour to spare – there’s a lot of good info in this video:
https://www.avid.com/redas well as in this whitepaper:
https://www.avid.com/static/resources/documents/whitepapers/digital_camera/digital_camera_workflow_whitepaper_us.pdfMichael
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